Continue reading]]> As I was coming up the ranks, one of my biggest influences in the academy was a guy named Tyler Malys.

He was a blue belt when I first started, and we used to often get partnered up because he was also a big guy. But he wasn’t just as big as me. He was also more technical and strong as an ox. I got smashed on such a regular basis that it was straight up ridiculous.

I consider that reality to be one of the reasons that I gravitated to playing guard early. When we rolled, I was the small guy.

At a certain point though, he switched his focus to wrestling. In fact, he spent many years training with the wrestling team at Penn State, and his technical prowess just exploded exponentially. In addition to that too, he also spent almost year in Vegas training as one of Roy Nelson’s frequent sparring partners.

Overall, he’s just a straight beast.

And even now, rolling with him brings unique challenges.

But about a year ago, I spent several hours (over a few weeks) working with him on my wrestling, and we also spent some time discussing what a wrestling focused submission grappling program would look like.

In fact, he sent me a general outline for how he would like to structure the curriculum.

It breaks down the micro positions that happen on the feet with specific possible attacks for each. So there were attacks listed for the double overs, double unders, over under, collar tie, arm drag, russian and so on.

What was interesting to me then (and still is) was how many micro battles existed on the feet.

No joke.

The document is two pages long. And there are no explanations on it at all. It’s just a list of different technique options, organized by micro positions.

In hindsight, those discussions and that document are what made me start thinking about the micro battles in BJJ. It was also about that time that started becoming disillusioned with technique.

I realized that it doesn’t matter how secksy a technique is.

All that matters is how good you are at creating the conditions necessary for that technique to work.

And if you don’t understand what those conditions are and can’t create them consistently, you won’t have success at the highest level.

It’s that simple.

That’s why I’ve decided to delve even deeper into the conditions for each technique as a part of each new lesson in the micro adjustments course. The latest addition is an example.

I broke down the specific conditions required for the 50/50 ankle leg to work before showing a slight adjustment that makes the attack even more powerful.

That will be the flow.

And if that kind of teaching appeals to you, start learning my sneaky ways now. Each week, a new lesson will be added, but also an old lesson will be retired.

Here’s the link:

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– Obi-Won Kenobi

Yes, it has.

On this, the most sinister of days, countless men are being dragged kicking and screaming away from training. No drilling. No rolling. No, not on this day.

And KB will also be spending some time away from my precious (let Smeagol reign) mats.

But no worries.

It’s still possible to improve.

For most of my early years training, I had significant demands on my time. I was in school full time, working almost full time, and traveling one hour each way to my home gym.

So time was precious.

And when I couldn’t train, I studied tape and drilled technique in my mind. Hell, it wasn’t even something that I did for significant periods of time. But those little mental reminders were like magic.

They helped me to remember what I was learning.

And they kept me excited about learning.

Which, in turn, made it easier to learn.

But if you’re one of the lucky sods who will be training on this day, I just have this to say.

Your days are numbered.

The mats have special powers. As you train and improve, you just become more and more attractive, and you may not know it yet but the noose is tightening. Soon, soon, you too will be boo’d up on Valentine’s Day.

Yes, yes.

Cuffing season always rears its seductive head, and you’re going to have to be slick to avoid it.

Here’s a suggestion though.

Sign up for KB’s Submission Proof course. If nothing else, it will give you loads of material to think about in the coming weeks and months for the days when you can’t train.

And while I can’t promise that it will stop you from getting cuffed up, it might help.

Who knows…

Seeing attacks coming on the mat might up your awareness overall, and you might start noticing innuendo, flirtatious glances and other overt signs of attraction as well.

Of course, I make no such claim.

You might be doomed to obliviousness for all time.

At least though, you won’t be so when it comes to seeing and preventing submissions. And that’s awesome enough.

Here’s where to get your lovin’ (for your game only, homie don’t play that):

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Continue reading]]> Let me tell you about a curious phenomenon.

I can look at someone drilling a technique and know whether or not they will reap the maximum benefit from the experience. It has nothing to do with the technical mechanics of their movements though and everything to do with their level of focus.

And it’s a variable that changes depending on the day. I’ve noticed it in myself as well.

Quick story time:

In the room, I’ve often seen a certain kind of guy. He’s young, athletic, and he can move. You show him a technique, and zoom, he’s speeding through it.

The problem though is this: he’s going through the motions. Mechanically, he’s figuring it out as he goes, but just as quickly, problems arise. The reason?

He went on autopilot while drilling. And small errors started to appear in the technique over and over again, but they weren’t noticed because he was powering through.

Towards that situation, there’s a saying that really stuck with me, and I have no idea where I heard it first. But even now the wisdom in that sentence can’t be denied.

Speed is the enemy of perfection.

I was reminded of that fact a few weeks ago.

In the effort to continually expand my knowledge so that I can help my students more, I visited a different gym, and we only drilled one thing.

It was a variation of the X pass against knee shield half.  It was AWESOME, but it required me to change how I’ve done the pass in the past.

So I slowed everything down to snail’s pace.

In my mind, I reinforced the idea that every rep is of immense value, and I took my time. Slow. Slow. And whoa, I felt myself improve.

It was obvious.

And I was able to add that variation to my arsenal, even with the limited time I spent on it.

That’s the power of being present in your practice.

Every rep counts, if you focus.

Continue reading]]> Our purpose is IMPROVEMENT. Every day. 1%.

Right now, at this moment, it’s the third month of the year. By this time, most people have given up on the new year resolutions they set two months ago.

Those who succeed though, do something miraculous. They transform intention into action. One step turns another and then another and another after that. They incrementally work towards their goal. And in time, even goals that seem unimaginable get CRUSHED.

That’s what I want for US.

And the three key questions I’m about to share with you will help you maintain your focus and keep you moving forward.

What are my goals in Jiu-jitsu this month?

This is the first question you must ask yourself. It will give you something to focus during the month. That is going to help you. It’s going to be easier to achieve best results possible from EVERY training sessions. It doesn’t matter if you succeed or fail to achieve the goal.

What matters is that you want it and GO AFTER IT.

If you asked yourself this question every month (and took it seriously), it would be amazing what you could achieve.

What project will I give myself this month?

At first glance, this question may seem like the first, but it’s different.

Projects are learning focuses. For example, one month you may choose Butterfly Guard. That means that you’re going to absorb knowledge about the position and those who are good at it. The purpose is simply to learn as much as possible about your focus.

The first question is more open-ended.

Are there any other students that I can build a relationship with?

Man, this is important. Most of my best training has come from building relationships with other students. Finding those teammates who come early and stay after. The ones who ask questions that inspire creative thought. They are special.

And if they have a BURNING DESIRE to achieve what you want to achieve and the FAITH to believe that it can done. It’s going to inspire you to push harder and further than you ever imagined.

Many minds focused on the same goal have an incredible power. And the benefits extend beyond Jiu-jitsu.

Ask Yourself These Questions Every Month

If it wasn’t clear before, these questions should be asked often. The answers will change all the time. That’s expected. The process, though, is going to lead to greater focus and that will give you greater results.

Continue reading]]> Intro by Ken

The following is a guest post by Josh Vogel. He’s a black belt under the Migliarese brothers, a Level 2 Certified Movnat coach, and a Level 1 Kettlebell Athletics coach. And in addition to that he’s also a contributor to Breaking Muscle and the author of the Sloth Report.

In this post, he’s going to share in his insights on how movement practice can contribute to excellence in our art. Why would he do that? Well, I asked him to.

I respect the fact that he has never lost the desire to learn even as he has had significant accomplishments in our art. Almost all the time, he’s exploring new disciplines and thinking of ways to apply those lessons back to Jiu-jitsu. That process is the key to great creativity, and within Jiu-jitsu, there are few black belts that have explored movement practice to the level that he has.

Enter Josh

I’m pretty psyched to see movement training getting more popular right now. Ido Portal’s work with Connor McGregor and Erwan Lecorre’s work with Carlos Condit have gotten people in the MMA and BJJ worlds to really take notice of what’s going on in the movement community.

Naturally there are misconceptions which people have in both communities, this is unavoidable, but overall the attention is a good thing I think.

The article I was asked to write was a description of the specific ways movement training has improved my BJJ practice. The second I put finger to keyboard, I was stumped. Not because I can’t think of ways, but because there are so many ways. It’s a hard article to write without making it so generic as to be indistinguishable from every other “what yoga and BJJ have in common” or “boost your BJJ with ankle weight training” article out there.

I felt including technical stuff, like how crawling relates to guard passing, or specific joint mobility work wouldn’t really explain anything about the Movement world and would just further current misconceptions.

Besides, the real gold I’ve gotten from this training has been philosophical and conceptual in nature. Ideas are powerful.

I am focusing this article on three basic concepts I commonly see in the movement community, regardless of the method you practice. My hope is to use these concepts to illustrate some of the perspectives I have gained in training with various Movement teachers and how this has influenced my practice and teaching in Brazilian Jiu-jitsu.

I won’t presume to speak for these people, but I’ll do my best to share some of the things I have gleaned from them both directly and indirectly.

The reason I am focusing on concepts first is I think the philosophy you have shapes all of the actions you take in any form of training. If you are starting from a self defense perspective in BJJ, then the techniques you choose, the way you train and the people you train with will all reflect this.

Approaching BJJ from another perspective will take you in a different direction. In learning from various Movement teachers, I have learned to look at everything I do, including Bjj, through a different lens which has changed the way I approach my Bjj training, teaching and practice.

CONCEPT 1: Generalist vs Specialist

Try to think of movement in a general sense…the full spectrum of human movement. This encompasses everything from dance to skateboarding to BJJ to bowling.

Soften your vision and see the forest rather than focusing on the individual trees. From this broad perspective, BJJ is one part of human movement and enjoys a symbiotic relationship with the rest of the forest. It feels kind of cheesy to put it this way, but bear with me, it’s in my nature to say this sort of stuff.

But how can we really practice such a broad topic?

It’s impossible to become a truly great dancer, gymnast, judo player, boxer, bowler, traceur all at the same time. The cliched phrase “jack of all trades and master of none” springs to mind and….that’s bad, right? I don’t think it is. This is where the generalist vs specialist concept emerges.

If you use MMA as an example of the generalist concept in martial arts, this might make more sense. There is the overall goal of winning a competitive match and being skillful enough in the major areas a fight can go so there are no glaring gaps in your game. You can play in most of the areas you might end up.

The MMA athlete learns elements of a striking art, a clinching/throwing art and a ground fighting art. This is the technical base. From this base (I mean base in the sense of highly recommended skills to have), some athletes choose to explore more unorthodox arts, tactics and strategies.

Some choose to dig deeply into their base and keep things relatively simple. But by nature, MMA fighters are generalist fighters, competent enough in every phase of a bout without being overly specialized in any one area. If you focus too much of your energy in one area, you become vulnerable in other areas. Not only that, but every thing you learn from specialists in individual arts passes through a filter of what is useful for MMA.

The generalist draws from the specialist and keeps what makes sense in his world.

CONCEPT 2: Blurring the borders between arts

Similarly, movement generalists seek to become well rounded, competent movers without over specializing in any one area. Most movement methods or systems advocate developing a general “base” of ability (strength, mobility/flexibility, etc…) which will allow them to play freely in most activities. A mover who can run, jump, dance, fight, climb.

What can you take from this video and apply to your guard passing, positional adjustments, escapes? The small micro movements and adjustments of the feet alone are amazing! Here’s one way to apply this:

This generalist concept is the first thing which changed the way I view BJJ and was of benefit to my practice. When you think from a broad perspective, you are constantly blurring the borders between arts. The border around BJJ becomes porous and inspiration then can seep in from any place. If you cook Mexican food and you only live within the box of Mexican cooking, there are fairly specific limits to what you learn.

When you start looking at Japanese food and Italian food, you start to expand your horizons and find solutions to problems you didn’t even know existed. You learn new techniques of cooking with foreign utensils, different ways to use flavors, new perspectives which influence and breathe fresh life into things you have cooked a million times before.

I told you, I go overboard with the analogies. I should also mention, my knowledge of cooking is less than stellar so I may be talking out of my ass.

A simple example: In BJJ, there are all kinds of demands placed on the body in rolling and injuries happen when the body is insufficiently prepared for these demands. There is no organized way of preparing the body in BJJ culture for these demands besides the vague advice to “stretch” , “take a yoga class” or “do a warm up”.

In some styles of dance, gymnastics and some sports, this is not the case at all and they have well defined practices to prepare the body (wholly, or the parts relevant) for the demands of the activity. Practices to reduce injury and improve longevity. So if we soften our eyes and let the lines blur between bjj and dance or gymnastics, we can borrow some important technology which can help us remain healthy.

We can blur with the world of strength training to understand how to improve a variety of aspects of our practice, stronger grips being just one example. Take from the world of motor learning to learn how to better structure drilling and sparring sessions. Draw from the world of parkour to expand our concept of self defense (everyone says to “run” and “get away” but no one talks about how to do this and how to navigate obstacles which might be in our way).

Just as interesting, once we start to look from a generalist perspective, we start to examine how we can bring useful technology from BJJ to other areas.

How can the “drill,positional spar, roll/full spar” model apply to rock climbing, or acrobatics, for example? Can we apply BJJ techniques (sweeps, for example) to dance, or two person hand to hand balancing?

There are even a number of parkour teachers borrowing elements of martial arts break falling to help their students practice more safely!

CONCEPT 3: Educating the body

In coming from a generalist perspective, you are naturally exposed to a variety of movement patterns. An infinite amount of ways to move your torso, arms, legs, face, everything.

Each new thing you practice influences the rest of your practices. A drop of rock climbing influences the way you grip and pull in BJJ. Experience in BJJ can influence and educate the way you move in Muay Thai practice (particularly clinching).

When you first learn Jiu-jitsu, one of the things you will notice is how difficult it is to move your legs and feet with control and precision. You struggle to put your foot in the right spot, meanwhile the purple belt next to you looks like she could perform open heart surgery with her feet.

The problem is this: When you start training, your legs, hips and feet are educated to do the things which they have practiced doing. For most people this is walking, running, getting out of bed or sitting on the toilet. If you were athletic growing up, you may have a larger repertoire including handling a soccer ball, or swimming. But Jiujitsu is interesting in that you are using your legs in ways which, at an intermediate level, are completely foreign to most people.

The technical vocabulary the lower body uses in BJJ is vast and well developed because not only do we drill technique, but we deepen and expand our vocabulary through consistent sparring. It’s not so different than learning language. We learn our alphabet, words, sentences, grammatical structures but learn on a deeper level when we test our knowledge in conversation, argument, debate. So the process of educating your legs begins.

Watch BJ Penn’s leg work here. Bear in mind that while it’s just a friendly roll, and they weren’t going super hard, Viera was one of the best competitive guard passers in the world around this time.

I have used this example of educating the legs for years, but attending seminars with Ido Portal’s crew woke me up to the idea that this should apply to every body part. This is related to the blurring the borders concept in some ways.

BJJ people typically educate their legs and hips beautifully, developing a broad vocabulary of movements, but not necessarily their necks, shoulders or upper torso (in some cases).

Dancers of various types educate much of their bodies almost more than anyone, but the most obvious examples would be the variety of things they can do with their torsos and feet. Musicians develop an amazing vocabulary and fluency of movement with their fingers and hands, but not necessarily with other parts of their bodies.

I found in my own practice, in seeking to educate my entire body through increasing the strength and range of motion of my joints as well as the repertoire of movement styles I’m capable of, I become more capable in a number of ways:

1. I have significantly more control and awareness of my body when it is taken out of it’s usual position. This is helpful for escaping tricky situations, avoiding injury and taking advantage of openings which might not otherwise be feasible. I feel like this is particularly useful during those undefined scramble moments where I have to improvise an answer to a crazy problem on the fly.
2. By using technology from other arts and systems to strengthen and expand the range of motion of my joints (what people usually call “mobility work”) , I open up not only the repertoire of BJJ techniques available to me, but the versatility with which I can use the techniques already in my arsenal.

A video I was requested to make of my morning joint mobility routine. Check the video description for good info about how to perform this, who to learn more from and what to read.

So, in some cases, when I hear one of my students say they cannot perform a hitch hiker escape because they lack the shoulder mobility, or they cannot resist an x guard sweep because their hips cannot open enough to save their balance I know which tools to use which can sometimes help solve these problems and unlock these closed doors.

In adding to already existing technique, with an expanded movement repertoire, I can perform something like a knee cut pass and close off more space than before by having more control and mobility of my scapulae, neck and spine. Or more effectively angle my shoulder and neck while passing guard to defend a guillotine without having to use my hands.

My hope with this article was to get some simple but potent ideas across while avoiding my tendency to go nuts with over writing. I’m not claiming expertise in this movement work, but I’ve dug around in this world for the last 6 years or so, so I think I have some reasonable insight here. These are my interpretations and mutations of ideas I’ve got in working with some great teachers both in person and through their writings. I highly recommend you check out these folks to learn from, read about, research and watch endless videos of:

• Frank Forencich. I have not met Frank, but his books are excellent and he does not get nearly enough credit for the amount of influence his ideas have had on this community, in my opinion.
• Ido Portal and crew. I have not worked directly with Ido, but his students John Sapinoso, Odelia Goldschmidt, Summer O’black, Joseph Bartz, Zach Finer.
• Andreo Spina.
• Jason C Brown
• Dewey Nielsen.
• Erwan Lecorre. I have mot met him, but I’ve had the pleasure of learning from his students Clifton Harski and Kellen Milad.
• Rafe Kelley.

Continue reading]]> In competition, all matches start on the feet, and it’s illegal to pull without contact. That means that the grip battle is an element of every match.

It’s also happens to be an area of study that is often neglected. I know I’ve neglected it, but there’s no time like the present to rectify that. That’s why I’m studying Jimmy Pedro’s Grip Like a World Champion DVD. It hones in on that topic like a laser, and it introduces elements of the grip battle that are uncommon in Jiu-jitsu.

Recently I spent some time slowly dissecting the material, and these are my notes. My goal in sharing is to help anyone else that is interested in the topic. And even if words aren’t enough to help you visualize, maybe it’ll inspire you to take advantage of all the other resources that are available. For example, Jimmy Pedro is still selling this DVD on his site and Rhadi Ferguson focuses on the topic..

Overview

• Stance
  • The leg you have forward dictates your power hand. So for example, if your right leg is forward, your right hand will be your power hand, and you will use it to initiate most of your throws.
• Movement
  • If you play left, always keep your left leg forward.
  • Always maintain at least six inches between your feet as you move.
  • Only cross your feet during the initiation of an attack.
•  Grips
  • Lapel and Sleeve
  • Cross Lapel and Sleeve
  • Double Lapel
  • Double Sleeve
  • Cross Sleeve and Back
  • Russian Grip (Collar and Belt Over the Back)
  • Power Grip (Upper Back and Sleeve)
  • European Grip (Tricep and Collar)
  • Belt Grip (Sleeve and Belt Under the Arm and Around the Back)
• Grip Breaks
  • The Pop Off (Same Side)
  • Pop Off to Cross Sleeve (Opposite Side)
  • Two Handed Pop Off (Opposite Side)
  • Circle Sleeve Break (Same Side)
  • Tear Away Sleeve Grip Break (Same Side)
  • The Circle and Tear Away Sleeve Break (Same Side
  • The Lapel Snap (Opposite Side)
  • The Slap Away (Same Side)
  • Wrist Shrug Break
• Tactics
  • Against Same Sided Opponents
    • Objective
    • Standard Gripping Sequence
  • Against Opposite Sided Opponents
    • Objective
    • Gripping Sequences

Stance

One thing that is really interesting about Grip Like a World Champion is the emphasis on how the situation changes depending on stances. If you play left handed and your opponent is a lefty too, you’re mirroring each other and you have a certain amount of good options.

On the other hand, if your opponent is a righty, you’re opposite, and that is a different situation.

It hammers in the idea that you have to pay attention to stance because it will determine how you must play the game.

Movement

Being mobile without unintentionally changing your stance is an attribute is shared between a wide variety of martial arts. You have to be able to move forward, back, lateral and circular all while maintaining stance.

It’s always good to be reminded of that. Repetition is the mother of skill.

Grips

The lapel and sleeve grip is the most common combination I’ve seen in Jiu-jitsu, but we don’t have to be limited to just that. Personally, I like the cross sleeve/back and power grips a lot, and I’ve had success with them.

The other grips are interesting though, and once you start thinking about grip variations, it opens up a whole new world of possibility.

Grip Breaks

 (From this point on, I’m going to assume that you’re right handed. It will make these notes easier to explain.)

• The Pop Off (Same Side)
  1. (Your opponent grips your lapel with their right hand.)
  2. Grip their right sleeve with your left hand and pull to remove any slack.
  3. Strike their grip at the wrist with your right hand while keeping your back straight to break.
• Pop Off to Cross Sleeve (Opposite Side)
  1. (Same principle as the first Pop Off.)
  2. Snap the hand away from your body at a 45 degree angle while maintaining a strong back.
  3. Pull sleeve across your body and grip their back with your right hand.
• Two Handed Pop Off (Opposite Side)
  1. (Your opponent grips your lapel with their left hand.)
  2. Pop the grip off with both of your hands while keeping your back straight.
  3. Secure their sleeve then establish dominant grips.

• Circle Sleeve Break (Same Side)
  1. Bring your left thumb to your shoulder to increase the slack in the gi.
  2. Make a circle with your left thumb from the outside.
  3. Bring it back inside to your chest.
  4. Rip away.
• Tear Away Sleeve Grip Break (Same Side)
  1. Gain control of their right hand.
  2. Bring your left thumb to your shoulder to increase the slack.
  3. Quickly pull your left hand away to break the grip.
• The Circle and Tear Away Sleeve Break (Same Side)
  1. Attempt the circle sleeve break.
  2. Tear away immediately if the circle break fails.
• The Lapel Snap (Opposite Side)
  1. Establish lapel grip with your right hand.
  2. Grab your opponent’s left wrist with your left hand.
  3. Push your right shoulder in.
  4. Circle your opponent towards your left and pull their grip across to break.
• The Slap Away (Same Side)
  1. Slap their left wrist to break the sleeve grip while bringing your right thumb towards your chest. (Usually done right after your opponent breaks your sleeve grip.)
• Wrist Shrug Break
  1. Arch the hand of your trapped sleeve backwards,
  2. Then use that hand to push down on your opponent’s wrist while straightening your back and stretching away to shorten your gi.

Opposite Stance Tactics

Objective

The opposite stance battle is a fight for inside control. Whoever controls that inside space is more dominant and has more options.

It’s harder to completely neutralize a power grip though. That may be the reason why more time was spent focused on countermeasures for this type of battle.

Gripping Sequences

• Lapel and Sleeve Grip (Ideal vs opposite sided opponents)
  1. Always take the initiative and set your lapel grip strong to control the inside space.
  2. Your lapel grip should allow you to control your opponent’s shoulder.
  3. Don’t put two hands on the gi until the lapel grip is set.
• Low Lapel Feed to Inside Control
  1. Grip the lapel low with your left hand and feed it to your right.
• Wrist Block to Inside Control
  1. As your opponent reaches, block their left hand with your left then establish a power grip.
• Power Grip (Well suited for shorter opponents)
  1. Reach out and grip your opponent with your left hand.
  2. Pull them in.
  3. Bring your right hand inside their arms and up high to establish the grip.
  4. Keep your opponent’s head against your shoulder so that they don’t have space to operate.
• Cross Sleeve Grip (An unorthodox grip that throws people off)
  1. Pull the sleeve grip across the front of your body.
  2. Bend opponent over and use your head for control.
  3. Grip the back with your right hand to lock in the control.
• Cross Lapel to Capture the Sleeve
  1. Pull your opponent toward you as you circle towards your left.
  2. That will bring their right hand closer to you.
  3. Capture it and then establish your preferred grips.
• Defending Elbow Over to Regain Inside Control
  1. (Your opponent brings their elbow over the top and inside of your right arm.)
  2. Drop your right shoulder to bring your elbow under theirs.
  3. Bring your left hand up to hit their wrist as you pop your arm straight to take back inside control.
• Closing the Door to Maintain Inside Control
  1. Use right elbow to block your opponent from establishing a power grip.

Mirror Stance Tactics

Objective

When it playing against someone that mirrors you, the primary objective to prevent them from grip your gi with their power hand. So if you’re a righty, the focus is on controlling their right hand.

If you can’t do that the second best option is to use your left hand to post against that right shoulder. It’s a form a distance control, and it will make it harder for them to grip you.

On the flip side, your opponent has the same goal as you. So you have to keep your right arm in a strong position until you’re ready to establish your grips.

So the mirror stance grip battle is relatively simple. It’s a fight for the establishment and maintenance of power grips.

Gripping Sequence

• Standard Sequence
  1. Post your left hand on their shoulder.
  2. As your opponent reaches with their right hand, block it.
  3. Grip their right sleeve and push it down and away from your body at a 45 degree angle.
  4. Establish your power grip

The Full Map

Want to hear something crazy? All that came from a 31 minute video….